Digital Art for All exhibition at Singapore National Museum

This digital art exhibition cum digital art workshop was supported by CCS (NAC),

under art event Creative 24 at Singapore National Museum.

Alliance française de Singapour presents

iPhoneography
 
Alliance française de Singapour presents the exhibition of Global Eyes: Hundred Years From Now an exhibition by the Winner of the Inaugural France + Singapore Photographic Arts Award 2012, Tan Haur. This exhibition features 50 mobile phone art works. This latest series of Tan Haur deals with issues of globalization continued from his previous series of Global Eyes; additionally the art works are digitally aged on purpose to a state they should be in a hundred years later in time. Altogether, the experience of this exhibition compels a viewer to see the situations of current world issues, their beauty and adverse, with a perspective of a person’s view a hundred years later. 

In this exhibition, there are works that include collaborations with French artists, Marie-Sophie Leturcq (Winner of 2nd France + Singapore Photographic Arts Award 2013) and Thomas Kimmerlin (Finalist of 2nd France + Singapore New Generation Artists 2010), Australian artist Jack Gamble and Singaporean artists Huei Lee, Sam Hong and Chun Chuan. A special showcase of integrated mobile phone works by Tan and the invited guest artists, during the working process, photo art files and ideas were sent among each other via smart phone, bridging the digital works development, communication and discussion across both hemispheres. Assisted by Pinch Design who is working on digital presentations, Tan Haur will also include community sets from workshops with students from Hua Yi Secondary School and Yuhua Secondary Schools. Adding to these heavy mix of visual treats, composer Yvonne Teng has thrown in a nostalgic toy piano mix that fix the audience with a mind reversing sensation. This exhibition is curated by Mui.

Global Eyes: Monsoon Rain

ALLIANCE FRANÇAISE DE SINGAPOUR, 1 Sarkies Road – Societe Generale Gallery. It is 29th November 2013 and there is a monsoon outside. A monsoon. Rain, wind, beams of lightning. I keep looking out the window expecting a whale to fly by… or at the very least a dolphin. Sipping coffee when its raining and am now trying to trace the journey that has led me here, attempting to figure out how and where it all started. My life has certainly not followed any  prescribed path. I refuse to accept absolute answers in exchange for gentle truths, and I count my wealth in the ability to own my dreams and pursue them when I wake up each morning. I abandon any faith as being entirely right, but rather recognize the fact that each one contains so many truths and accept the goodness and compassion of each as the juice and gift of life. I challenge my students to be citizens of the world and to rejoice in the differences they experience and encounter. They are black, brown, yellow, and white. All as one family on this living planet where we sing, dance, music and art.

~ Tan Haur
iPhoneographer 

Interviewed by Straits Times on 9th August 2007

Click on photo to read this article, interviewed by Straits Times.

Media report- Straits Time on 2008 National Day Goodie Bag Design

'It makes me feel like a famous artist,' said Daren.
The students created their artwork at a printmaking and digital darkroom workshop held by Cultural Medallion-winner Chng Seok Tin and digital artist Tan Haur.
Meanwhile, organisers of this year's parade gave a sneak peek yesterday of the treats to be found in this year's funpacks.
One highlight: a giant inflatable glove that can be lit up for the night-time segment of the Aug 9 festivities.

Web site: http://www.straitstimes.com/National+Day+Special/G/Story/STIStory_254425.html

Media report - Digital art for all on MICA website

web site: http://app.mica.gov.sg/Default.aspx?tabid=345

Tan Haur is the founder of community art project : Digital Art for Everybody

Supported by MICA.

[ Travelogue ] Group Show 国际艺术合作项目

Photo-Art + Essay + Drawing + Poem

Pembukaan/ Opening: 13 December 2012, 7pm

Exhibition: 14 -28 December 2012

Mui & Tan Haur (Singapore)
together with special invited Guest Artists (Bol Brutu, Indonesia)
Putu Sutawijaya, Pande Ketut Taman, Feintje Likawati, Sandat Wangi, Ida Fitri, Ninuk Retno Raras, Boen Mada, Edy Hamzah, Nur Cahyati Wahyuni, Rani Februandari, Suci Pri Hatiningsih and Dyah Merta.

Curator: Kris Budiman (Indonesia)
Organizer : Jenni Vi Mee Yei (Indonesia)
Graphic & Creative Design Consultant: Tan Haur Studio, Singapore 

Today’s world has transformed into a terrain termed by Arjun Appadurai (1996) as the global ethnoscape. When someone’s attachment to a certain nation-state and homeland seems to fade away, human being then bears a brand new status as trans-migrant, non-temporary traveler creatures either in physical, intellectual, or imaginary conception. Tan Haur and Kit Mui are such kind of couple who barely ceases to travel from many departure points (with almost no return points). During their many travels, incessantly they bear in mind various ethnoscapes they ever witness through the aid of certain media, mostly photography, sketches, and other no less practical visual media. From this point onward, the seemingly incessant travels then turn into a working series of space construction, either for aesthetical production or appropriation purpose. In brief, citing John Urry’s terminology (1995), both of them has and been continuously involved in the activity of visual consumption.

From this standpoint, we can propose a sort of presupposition correlated to how the visual consumption they did can be similar or different, either between Tan and Mui themselves or between them and some colleagues from Bol Brutu (Gerombolan Pemburu Batu; band of stoneseekers) who are invited as the guest artists, as exposed in this exhibition entitled Travelogue. What are the visual consumption elements, through action that we call gaze, which unify or set them apart? Generally, we can hypothesize that on one side both Tan and Mui accentuate romantic gaze, but on the other side they tend to be anthropological. Their gaze exposes several characteristics such as solitary, becomes absorbed and drifted away by the moment, and involves vision, aura, and amazement over the exotics and extraordinary. This anthropological tendency will probably also be apparent in the process which involves scrutiny and active interpretation inside of themselves.

Knowing Tan and Mui since early 2012, I have witnessed how they arrange travelogue –a narrative genre interlacing the enchantment of traveling amidst the drama of victory and failure – through the visual perception towards and experience of encountering the Other in other places (Ijo Temple and Mangir Village in Yogyakarta; Merak Temple and Sendang Tirta Mulyani in Klaten; Klenteng Singosaren and Pasar Gede in Solo). By means of visual travelogue in the form of photos and sketches, they recount the perception and experience in a way I can call passionate. Especially in the sketches, this passion is manifested in the lines they scratch on pieces of papers. Tan, with his obvious philosophical vision, met and conversed with the biggest Buddhist monument worldwide; while Mui, with her intuitive and bold-minded lines, meditated over the tiny plain objects she encountered. Both seem to enjoy their traveling experience, the experience of ethnoscape disjunction liberated from the tendency towards factual accuracy in narrating.

Original Text in bahasa indonesia by Kris Budiman (Curator) / Translated by Ana Zahida


Sangkring Art Space
Nitiprayan rt 1, rw 20 no.88 Kasihan Bantul, Yogyakarta.

Supported by: Sangkring Art Space and Singapore International Foundation